Wednesday, May 05, 2010

Summer Reality

Definitely I have to accept as fact that summer is indeed on its way. I'll be a bit sad when it's too hot to paint outside. For now, I'm getting as much time in as possible, mostly in the mornings.I like these close detail photos, because they show the texture of the canvas underneath. It's a bit of trouble not to fill the textures in with paint. It means I have to paint in very thin layers. I think the most difficult aspect of this is that too much paint can't be undone. It's a discipline thing. I'm learning, learning, learning. Thankfully, I have years of dry brushing three dimensional work behind me. That does help. But as painting on canvas goes, I feel a little like an intruder, a child with my hand in a magician's bag of tricks. It doesn't belong to me, I don't know how to use what's inside, and it could be dangerous.I always get paint on my hands. Sometimes on my face too, but always on my hands. Likely I could change this. It would be a matter of concentration to change my methods. Or I could accept that this is who I am, an artist who gets paint on herself when she works, and put the energy into the work instead.

5 comments:

I like these glimpses into your creative space and process. And I think wearing some of the physical reality of your art is exactly how it is supposed to be. Remember that sometimes the things that escape from the magician's bag of tricks lead you closer to your destiny.

I have a distressing habit of sucking on my watercolor brushes when I overload them- not only messy (paint all over my face), but probably really not good for me- pigments and minerals and skull-and-crossbones stuff. I KNOW I shouldn't, I lay paper towels out to unload the brushes, yet in the moment there I am, sucking the brushes again.Your textures are strong and really effective. Images seen through a dream screen....

Melissa: I like that you said that the things 'escape' the magician's bag. Different way of seeing it. thank you.

maquat: I don't do that one, but if I used watercolor, I might. I totally understand---there's no better way to get a perfect point, at least that I know of. I tend to do it before I touch the paint---but then, I work with some pretty awful stuff for sculpture. There's no avoiding it for some types of work.Thinking about it here, possibly the same rule applies; decide which you are, what it is you do, and do that. Thank you.

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Lisa is the creator of Poppets and other art. Talented authors tend to write stories about images she makes. At Strange Studios, in Palm Springs, California, she and fellow artist Benton Warren create fantastical kinetic works. This blog is about Poppets, life in the studio and other strange goings on.